tess and jane 2

Guilt shares some similarities with regret, shame and embarrassment (White &Mullen, 1989) and may accompany these other emotions (Andersen 157). Guilty individuals may engage in interpersonal avoidance or seek to make up for their behavior through apologies, repairs, or promises to change their behaviors (Andersen 158). There is no single facial expression associated with guilt (Izard, 1977); however, sad or worried facial expressions, a lump in one’s throat, and remorseful, and sorry expressions accompanying apologies are common reactions to guilt” (Andersen 158).




Tess and Jane are sisters. Tess (the younger sister of Jane) is mad at Jane (the older sister of Tess) because Jane embarrassed her in front of every single person that she knows. Their father owns a hardware store. Jane is talking to her father in the hardware store and is behind a rack of products so she is not in plain view. Her father is not in plain view either.

• Tess(the younger sister of Jane) comes walking in the store and in a neutral tone says dad but sounds like she wants to ask her dad something. Her voice sounds neutral because

Her father walks toward the entrance of the store (where Tess is) and Jane (the older sister of Tess) follows him. Tess says to her dad “What the hell is she doing here” and as she asks this she gestures toward Jane. She appears angry because

Tess, Jane and the dad all have different responses to them coming together as a group. When Tess notices Jane, Tess stops walking forward. Simultaneously, her body language changes. She leans to the left by pushing her left hip out to the left side of her body and leans against a product rack. Tess crosses her arms. Tesss facial expressions change. Her face looks like it tightens because her eyebrows move closer together, her lips looked they were about to be pursed together, her eyes narrowed and she stared directly at Jane for a half of a minute. Then Tess turned her attention away from Jane to her Dad and she then relaxed her facial expression a little bit by opening her eyes more and moving her eyebrows back toward their original position. Jane is behind her dad and Tess is in front of her dad.

• Her dad said “Tess, this is between you and her. I am out of this.” When the dad sees Tess he seems upset and under stress because of many body language cues. He sighs. When he sees Tess, his mouth becomes thin because it stretches to the right and left so that his lip is about an inch longer than it normally would be. His arms seem tense because they don’t fall naturally to his side. His forehead has about five visible lines that go above the eyebrows. These lines are not just in the central part of the forehead, and oval shaped lines that originate from your nose and end just below your mouth have formed. As he says between you he gestures toward Tess and his head tilts toward the right (the direction he is gesturing). As he says and her he turns his head and hands to the left (the direction he is gesturing) around to gesture toward Jane. When he says I am out of this, he looks down and brings his hands up to his head and throws them down to his hips like he is throwing one thing from his left hand to the left of him and one thing from his right hand to the right of him. Then he looks at the front door of the store and walks out of the store. The dad seems like an illustrator because every word that he says is associated with a movement of one or both of his arms.
• As Jane walks toward Tess she has her head down, is blushing and blinking. In addition, as Jane walks toward Tess she makes eye contact with Tess for a second, then seems to make eye contact with the floor until her dad starts talking about her and her sister at which point she seems to make eye contact with her fathers gestures. Janes cheeks are sunken. Her lips are open but they are not open wide enough to see her teeth.
She leans against a post in the store as her way of standing up. Her arms are close to her sides and are folded in front of her and her hands are clasped. This nonverbally communicates that Jane feels subordinate. This position takes up less space and makes you feel and appear less powerful.

• Once the dad leaves Jane looks to the right, left, right and then to the middle using her eyes but not her head. Tess (Jane’s sister) stares down at the floor and then once her dad leaves stares at Jane with her arms folded and her head and body still leaning toward the left. At this point, Tess tries to look directly into Janes eyes. Tesss cheeks are sunken, her lips are closed but not pursed and her head is slightly tilted to the left but otherwise her face looks like it did when she first walked in. Tess shakes her head to the left about an inch and to the right about an inch two times. Jane doesn’t look at Tess and says “I feel terrible” and then looks up at Tess for a second and then looks back down. Jane’s voice is deep, heavy, not firm, soft, and relatively monotone and she is talking slowly.

When Jane says that, Tess brings her head up so that her head is not tilted anymore, purses her lips slightly so that a half oval wrinkle forms on each side of her mouth and widen her eyes (her eyebrows get elevated about two millimeters up as her eyes widen). As she untilts her head, she renews eye contact with Jane but this time she does it in a way that makes her seem like she is glaring at Jane. Jane says “I’m so sorry for what happened” as she looks at the ground and shakes her head from side to side. Her voice is deep, heavy, not firm, soft, and relatively monotone; she is talking slowly.

Jane seems like she feels helpless. In addition, she seems like she seriously wants to feel relief and forgiveness for a negative thing that she feels that she did. Many things give me this impression. One of the things that gives me this impression is that her words and her voice are deep, heavy, not firm, soft, and relatively monotone. In addition, she is talking slowly.



• When Tess responds to these statements her voice is loud

and she is accentuating every word that she says. Tess says “Sorry?”. As she says this she throws her arms down like she is throwing them onto the floor. Tess’s voice becomes more loud. She moves her hand in circles and says “You think you can just say sorry?” and then has both of her arms bent to the side at about a 45 degree angle so that her hands are level with her head and both of her palms are pointing toward the sky. She moves her head up about two inches as her hands are forming their palm up position. Then Tess says that Jane has always been jealous of her. Tess’s voice is now high pitched and very loud. In addition, all of Tess’s words are said much quicker than Jane’s at this point in the conversation. Possibly could expand more on Tess voice. Tess’s facial expressions change and she looks like she is getting more angry-expand on this.

• After this statement, Jane makes eye contact with Tess and winks two times. Jane looks like she is confused because her eyes are squinting (especially her right eye), her eyebrows come together forming three creases above her nose, ?lines begin to appear on her forehead?, her eyes close for a second and then reopen, and her mouth expands to the right and left to produce diagonal vertical indentations in her cheeks starting near her nostrils and not going past her bottom lip line.

• Next, Tess further explains the concept of why she believes Jane has always been jealous of her. She proceeds to throw one object from the store at Jane for examples of things she believes Jane has always been jealous about. For example, she throws one thing at Jane for being jealous of her boyfriends and one thing at Jane for being jealous of her clothes. As Tess is doing this, her cheeks are sunken, her eyes look smaller in area and her eyebrows look closer together. Tess looks extremely angry. After throwing three things at Jane, she says “You have just been waiting for the chance to tear me down” and she has her right and left arms at a 90 degree angle and is holding two objects above her head. Tess straightens her back, brings her head slightly up and the ?pupils? of her eyes go up towards her forehead and then she throws the two objects at Jane. In addition, Tess is still exhibiting the behavior of her cheeks being sunken, her eyes looking smaller in area and her eyebrows looking closer together.

• Jane tells Tess that she is wrong and after Tess throws the last thing at Jane, Jane looks directly at Tess and tries to make as much eye contact with Tess as possible and has her hands at her sides (instead of her hands clasped together). At this point Jane and Tess are about 5 feet apart. Tess and Jane are in the social/consulting distance zone. There is one non official distance zone and four official distance zones in nonverbal communication (Anderson 46). In North America, each person is assumed to have a personal amount of space around them that is about three feet wide but a tiny bit larger than that directly in front of the person (Anderson 46). When anyone except friends, people that we are in a romantic relationship with, or family members enter this space reactions are usually not positive (Anderson 46). There are four official zones of interaction (Anderson 46). One zone is intimate distance and this starts at the person’s body and usually extends about 18 inches out (Anderson 46). Usually, the only people allowed in this zone are familiar friends and family (Anderson 46). Small children are usually accepted because it is assumed that they havn’t learned about personal space boundaries yet (Anderson 46). The next boundary is causal/personal distance. This occurs between 1 ½ feet to 4 feet past someone’s body (Anderson 46). Since this distance is so far away from the persons body, the touch that occurs in this zone is usually not intimate (Anderson 46). The third zone is social-consulting distance. This is usually about four to eight feet from the body (Anderson 46). This is sometimes called social space and can be maintained in group interactions and business meetings. (Anderson 46). People in business, people selling things and people teaching typically do this to try to appear more professional and avoid invading peoples’ personal space or seeming too intimate (Anderson 46). The final zone is public distance which is usually eight feet from the speaker and beyond (Anderson 46). This zone is usually reserved for high ranking officials like a president, and other high-ranking people, public speakers, celebrities and executives (Anderson 46). This construction of the zone creates easier access for public viewing and provides extra safety for these high ranking people (Anderson 46). However, this can decrease the quality of communication and can result in less social interaction (Anderson 46).

Public distance



• Jane starts walking toward Tess and starts to enter her casual/personal distance zone. Jane continues walking so that she walks into Tess’s intimate distance zone and ultimately just barely enters Tess’s personal space zone. Once Jane enters Tess’s personal space zone, Tess frantically looks for something to assault Jane with. She has accusatory nonverbal communication.


Her voice sounds accusatory because she is saying accusatory language like “… You’re not taking any responsibility that you leid to George”. Jane’s voice becomes loud and firm. She is using accusatory body language by stepping methodically (taking one step at a time slowly) and using one hand to point to Tess while she is walking. Every time that Jane says Tess did a certain action toward George she repoints her finger to Tess. All of Jane’s words are being said quicker and she is choosing to emphasize certain words in her sentences. Jane is barely blinking at all. When Jane says the word lied she emphasizes it and her eyebrows go up and the surface area of her eyes becomes a little bit bigger.

When Jane comes within a foot of Tess, Tess grabs the bug spray off of the store shelf and points it toward Jane. Tess seems like she is somewhat scared of Jane and feeling like she needs to nonverbally defend herself from Janes negative comments because as soon as Jane comes within a foot of her she starts frantically looking for something to grab. In addition, Tess looks at Jane’s upper body instead of Jane’s face. Tess looks like she is frantically looking for the bug spray because she has a worried facial expression when she is looking for the bug spray. Jane successfully grabs the bug spray from Tess and Tess seems scared of Jane for two main reasons. As Tess runs behind the store shelf she has the worried facial expression and Tess makes noises. The first noise sounds like a high pitched squaky noise that lasts about a half a minute. The second noise sounds like another high pitched squeaky noise that is lower in volume and lasts about five seconds. Jane runs to the other side of the shelf, Tess and Jane meet, and Jane asks Tess another question. When Tess answers the question she doesn’t make eye contact with Jane and Tess walks in front of Jane to the back of the store. Jane walks toward Tess with an expression of disbelief. During part of this conversation, Jane tilts her head to the left very slightly in what looks like an effort to make sure she is understanding her sister (Tess) correctly.

Tess continues talking and says that “You have always thought that my life was so easy” and at the beginning of the statement she seems like she is making eye contact with the ceiling. She doesn’t make eye contact with Jane when she says this statement. She emphasizes the word easy and Tess moves her head up, down and to one side in a nonsensical way to convey to Jane that the sentence is not true.

Jane responds by saying that “you are beautiful, you are fun, you are charming, your life is perfect”. Jane shows that Tess’s life seemed like that to her and she really believed that by breaking into a broad smile and her eyebrows moving up on her face temporarily, her surface area of her eyes increasing for a minute, and a louder, lighter voice.
As Jane is saying “you are beautiful…” Tess is looking annoyed because she is not making eye contact with Jane and she is rolling her head and eyes to the left and right.
Tess gives Jane a look of disgust, shakes her head, and makes eye contact with Jane, and moves herself so that her face it is within 5 inches of Jane’s face as she tells Jane “Perfect, Are you crazy?”.

Jane is making eye contact with Tess but looks very surprised because her face looks blank (like a deer in the headlights)

Tess says “The reason that I stayed in New York” and lifts her shoulders up, sighs, moves her head 5 to 6 inches back
was that I got fired from my job and, in addition, Ruldopho (her boyfriend) dumped me” When she says the word dumped, her voice gets louder and her mouth gets bigger. And then she explains that when she met George he was the first positive thing that had happened for a while. As she starts talking about meeting George she shifts direction to the right and a genuine smile appears on her face.




At the end of the interaction Tess is near to Jane and is increasing her immediacy with Jane by minimizing height differences by sitting in a way that makes her head about a foot below Jane’s head. The daughters don’t look like illustrators because the only time that they move their arms when they are talking is when they are experiencing a strong emotion like anger. The daughters look like they are producing adaptive hand gestures. For example, Jane may be putting her hands in a slight wringing position to protect herself against Tess’s verbal abuse and to make it easier to protect herself from Tess’s physical abuse.



Tess (Jane’s sister) is staring down at her with her arms folded. This nonverbally communicates that she is angry at her sister and is trying to increase her power over her sister to attempt to change Jane’s recent negative actions into positive actions and create positive actions in the future (Andersen 198).

Anger is a strong emotion that usually occurs because someone feels that they have been physically or emotionally hurt, insulted or ill-treated by another human being (Andersen 153). Anger produces unusual facial features: eyebrows that are lowered and closer together than in a non-angry face, a direct stare, narrowed eyes, and a strained jaw, usually with the mouth open and the teeth visible (Andersen 153). The voice in angry situations is louder, rougher, more intense and usually has a deeper tone than non-angry situations (Andersen 153). Angry actions can consist of exhibiting menacing movements, forming one’s hand (s) into a fist, may include making threatening gestures, clenching one’s fist, staring at someone in a hostile way, not respecting someone’s personal space in terms of their face and usually negatively reacting within that space, not responding to someone as frequently or as loudly as usual (if at all), walking away from a statement that has been made or a situation (Andersen 153). In computerized situations, anger produced a backward head tilt, non-slouching and usually non sitting posture and arms in a higher position than non-computer generated situations” (Andersen 153). Anger is not characterized by a specific volume or tone (Andersen 146). Instead, it is characterized by many variations in volume and tone which include yelling, screaming and shouting (Andersen 146). Fear, disgust, shame and silence can be shown through silence (Andersen 146). “Loudness and speed of talking were the most commonly reported vocal cues that indicated emotion was being expressed” (Andersen 147).

Fear, disgust, shame and silence can be shown through silence (Andersen 146). Disgust produces some recognizable facial features. An average level of disgust includes the facial features of the eyes being almost closed, the nose being crinkled, and the bottom lower lip of the mouth being further down the face than usual” (Andersen 153). When a person is excessively disgust, the tongue is usually towards the bottom of the mouth and is closer to the teeth than if the person was not excessively disgusted (Andersen 153).

Smiling is usually the most easily recognizable cue that someone is happy (Andersen 147). However, there are many other nonverbal signals that can show happiness (Andersen 147). The tone, the passion and the rate of speaking in verbal interactions usually increases when someone is happy (Andersen 147). In addition, the vocal tone usually becomes more flowing and steady in terms of rhythm (Andersen 147). A happy person usually walks lighter. For example, a person might have a spring in their step (Andersen 147). A happy person usually feels more comfortable having closer interpersonal distances and laughs more often than a non-happy person (Andersen 147). In a hypothetical computer produced situation, people who are happy produce actions that include lifting their arms higher up and a backward head tilt without bending forward (Andersen 147). Unkind physical behavior is usually not exhibited by happy people (Andersen 147).
Smiling is a popular way to show that you are or can be calm (and sometimes quiet) and passive, and usually is intended to calm and create positive interactions (Andersen 149).



Immediacy can be shown by conversing on the same level (in terms of state of being) or physical plane such as height as another person (Andersen 198). When someone is much taller than you, their power increases over you and your power decreases; this makes you seem more acquiescent and them seem less warm and approachable and more psychologically different, unapproachable and uncompromising (Andersen 198). “Interacting on the same physical plane is particularly problematic in interactions between young children and adults who tower over them” (Andersen 198).
One way people can show more immediacy is to sit or bend in a way that reduces height differences (Andersen 198). Interacting at the same physical level as another person can show harmony and intimacy between those two people (Andersen 198).
At the end of the interaction Tess is near to Jane and is increasing her immediacy with Jane by minimizing height differences by sitting in a way that makes her head about a foot below Jane’s head.


Folded arms usually means that two people are not in agreement (Andersen 147) Pointed or diagonal motions and body figures including angry frowns and uptight muscles usually make humans feel threatened (Andersen 147).
If someone feels warmth from the other person and has a positive impression of the other person, the two people will be closer together (Andersen 196). If someone feels negativity from the other person and has a negative impression of the other person, the two people will be farther away from each other (Andersen 196).


Guilt
Guilty emotions tend to happen when a person has been unfairly treated, duped, swindled, damaged, or harmed (Andersen 157). In addition, guilty emotions tend to occur when someone has been betrayed or has been unsuccessful when they have tried to help someone (Andersen 157).
Guilt can have some of the same nonverbal cues as regret, shame and embarrassment (White &Mullen, 1989) (Andersen 157). Guilt is not always present as a singular emotion and people can be feeling regret, shame and embarrassment along with guilt (Andersen 157). People who feel guilty might intentionally avoid people who make that sense of guilt stronger (Andersen 158). In addition, people who feel guilty usually try to compensate for their actions by asking for forgiveness, expressing regret and offering excuses and agreeing to change their behavior (Andersen 158). There is more than one single facial appearances that nonverbally communicates guilt (Izard, 1977) (Andersen 158). Sad or worried facial appearances, a lump in one’s throat, and remorseful, and sorry appearances accompanying apologies are ordinary responses to guilt (Andersen 158).
The opposite of contempt is admiration.
Some professionals state that contempt creates an identifiable nonverbal physical state (Andersen 155). This state usually includes a blank face with a tense, arch lip (Andersen 155).

Shame is an extremely negative emotion that usually occurs because someone feels not equal to others usually because the positive regard that they had from the other people is gone most likely because of the person’s non-moral actions or the person was unqualified to do the task (Andersen and Guerrero, 1998b) (Andersen 156).

There are many types of avoidance reactions. Avoidance reactions (actions that can be produced by a feeling of shame) include minimizing the physical space created by a person’s physical body. Some examples of this are people exhaling air from their chest, the person concealing their face with their hands, trying to prevent eye contact, slouching, the person physically bringing down their head, and escape from public communication (Andersen &Guerrero, 1998b) (Andersen 156). Other avoidance reactions are behaviors that manipulate one’s body in an effort to establish control over one’s body such as a person biting or licking their lip. Other avoidance reactions are creating creases in their forehead, touching their face more often and artificial, flimsy smiling (Keltner, 195; Leary&Meadows, 1991; Scheff, 1995) (Andersen 156-157). People may blush for many reasons (Andersen 148).
The most common reason that people blush is a feeling of embarrassment and another reason is a feeling of shame (Andersen 148).

Embarrassment
The most common reason that people blush is a feeling of embarrassment (Andersen 148).
A great number of the nonverbal results of being embarrassed are analogic requests for forgiveness used to maintain dignity in an embarrassing situation) (Andersen 157). Other behaviors are used to placate spectators, try to prevent being noticed, and let go of stress (Andersen 157). Some examples of these behaviors are trying to prevent gazing and making eye contact, concealing the mouth, eyes or whole face, pushing the lips together making artificial, flimsy or stupid smiles, giggling reluctantly, blushing, “interrupting others; lowering one’s head; glancing down; turning one’s face or body away from others; withdrawing and making moves to depart (Andersen&Guerrero,1998b; Costa Dinsbach, Manstead, &Bitti, 2001; Cupach&Metts, 1990,1994; Keltner, 1995; Miller&Leary,1992;Schmidt&Cohn, 2001) (Andersen 157)” “With embarrassment, as with other emotions, what is felt is not always what is expressed”, especially in public situations (Andersen 157).



Jane using a illustrator gesture when she first starts walking toward Jane (Andersen 39).
“Eight kinds of illustrators are commonly used during speech (Ekman and Friesen, 1972) (Andersen 39). “…These eighth kinds of illustrators are not mutually exclusive but can occur simultaneously or fit into several categories” (Andersen 39).
1. Batons - gestures that are used to emphasize a particular work or phrase(Andersen 39). Watch the baton used by public speakers, particularly political candidates, such as chopping or punching gestures that coincide with the words they accent in their speech (Andersen 39).
2. Ideographs - gestures that sketch or trace the path of an ideas or relationship (Andersen 39). An economist may show the decline of unemployment by drawing an imaginary graph in the air (Andersen 39). A communication professor may say “As anxiety increases, performance decreases” while raising one hand and lowering the other (Andersen 39).
3. Pointers, or deictic movements, point to a object, place, or event (Andersen 39). For example, a parent might say “Clean up your room” while pointing in the direction of the room, or a teacher may point when calling on a student in class (Andersen 39).
4. Spatials are movements that depict size or distance relations (Andersen 39). A fisherman widening his arms to show the size of his fish or a basketball coach using expansive gestures while saying “Spread the defense” are examples of spatials (Andersen 39).
5. Rhythmic movements are gestures that depict the rhythm, pacing, or timing of an event (Andersen 39). For example, a person speaking about the chronology of events in a murder case may gesture to indicate when each event took place; similarly, a band leader may signal the tempo of a song with rhythmic gestures (Andersen 39).
6. Kinetographics are movements that depict bodily actions or a nonhuman physical action (Andersen 39). Examples would include a surfer demonstrating how to keep one’s balance when riding a particularly large wave or an eyewitness imitating the motions of the involved parties at a crime scene (Andersen 39).
7. Pictographs are movements that draw a picture of the referent in the air (Andersen 39). The classic example is a man tracing the hourglass shape of a woman’s body in the air (Andersen 39). Likewise, if the previously mentioned surfer gesturally described the height and shape of a wave, she or he would be using a pictograph(Andersen 39). A person indicating the physical topography of a region by sketching in the air would also employing a pictograph(Andersen 39). .
8. Emblematic movements employ a gestural emblem that is synonymous with a statement(Andersen 39). Saying “You’re dead” while symbolically slitting one’s own throat, extending one’s middle finger while saying “Up yours,” or making a circular motion next to one’s head while saying “He’s crazy” are emblematic movements(Andersen 39).
“The expression of fear is characterized by raised eyebrows (Andersen 151)”. “The upper eyelids are raised, the lower eyelids are tightened, and the lips and mouth are stretched horizontally to reveal the lower teeth (Andersen 151).”

Immediacy cues

“Sadness is displayed nonverbally in many ways. One way is the sad schoolchild face”. “This face is characterized by a downturned mouth and downturned eyes (Andersen 150)”. “Behavioral indications of sadness include a slumping posture, frowning, moping, a lowered head, forward chest bends, prolonged silences, talking in a monotone, lower vocal volume, decreased smiling, reduced eye contact (Andersen 150)”
“One study showed that general gaze aversion communicates negative relational messages, including dissimilarity, superficiality, nonaffection, nonreceptivity, lack of trust and nonimmediacy (Andersen 195).” “In general, eye contact is perceived as positive, immediate behavior in interpersonal interaction (Andersen 195)”.

“Eye contact interacts with other variables to intensify other meanings (Andersen 196)”. “Under some circumstances-such as a prolonged gaze or gaze accompanied by an angry facial expression—it is perceived as a threat display (Andersen 196)”

“Fidgeting may communicate anxiety or anticipation” (Andersen 148)




“Happiness produces changes in a person’s non-verbal behavior, including increased vocal pitch, intensity, and rate, a more melodious tone of voice, a lighter walking style, closer interpersonal distances and increased laughter” (Andersen 149). “In a study using computer-generated figures, happiness has been displayed by backward head tilts without forward leans” (Andersen 149).
Smiling “involves a widening and upturning of the lips and mouth” (Andersen 148) “Genuine smiles, also called Duchenne smiles, not only include the upturned mouth but also involve raising the cheek muscles and squinting the eyes, producing smile lines at the corners of the eyes” (Andersen 148)